अपनी भाषा में प्लॉट जोड़ेंAfter Susan Gilvray reports a prowler outside her house, police officer Webb Garwood investigates and sparks fly. If only her husband wasn't in the way.After Susan Gilvray reports a prowler outside her house, police officer Webb Garwood investigates and sparks fly. If only her husband wasn't in the way.After Susan Gilvray reports a prowler outside her house, police officer Webb Garwood investigates and sparks fly. If only her husband wasn't in the way.
- Grace Crocker
- (as Katharine Warren)
- Reporter
- (बिना क्रेडिट के)
- Evelyn
- (बिना क्रेडिट के)
- Juryman
- (बिना क्रेडिट के)
- Journalist
- (बिना क्रेडिट के)
- Mr. Talbot
- (बिना क्रेडिट के)
- Airline Clerk
- (बिना क्रेडिट के)
- Spectator at Coroner's Inquest
- (बिना क्रेडिट के)
- Man in Crowd
- (बिना क्रेडिट के)
फ़ीचर्ड समीक्षाएं
Usually you can see some good or mitigating factors in a film villain, but Webb is bad to the bone. He thinks he's been the victim all of his life, and he hates being "just another dumb cop". And Susan buys his lines. Did he plan what happened all along? I don't know, but I don't see how he could have figured it any other way.
But then a monkey wrench gets thrown into his path that will tell the whole world what he is just when he thinks he is home free. But this is the production code era, so it had to be that way. But at least the way he is found out is rather unique. With John Maxwell as Bud Crocker, Webb's cop friend/partner who would drive anyone crazy with his endless dull talk about rocks.
Highly recommended for those of you who like film noirs.
Answering a call about a prowler at the home of Evelyn Keyes, Maxwell offers practical advice about security, whilst Heflin practically moves in. Returning initially to check on Keyes' safety, an unusual - perhaps unique affair ensues. Keyes much older husband is always present; on air, performing his schmaltzy, cheesy, cornball radio show. Though it provides the ideal set up for their deceit, Heflin finally turns off the set, refusing to allow rubbish radio to ruin their racy romance.
When the dinosaur dee-jay grows suspicious, Heflin calls for a cooling off period. He retires to his spartan apartment, where, bearing an uncanny resemblance to The Royle Family's Craig Cash, he stares blankly into space. Does his vacant, vapid facial expression disguise profound perceptions permeating his punctilious brain....or is he merely musing over a hot dog which he ate in 1946? At this point Keyes bursts in, unlocking his libido and reigniting the relationship. If only her dull, ageing husband, hardly the future of rock'n'roll, the cause of her unhappiness and the barrier to Heflin's future were out of the way.
In the kind of plot where one lie leads to another, then another, followed by a porky of gargantuan proportions, the desperate couple head for Calico, one of Maxwell's ghost towns, uninhabited for many years. Though, apparently Poco knew a lady from there! Heflin has become so entrenched in his own web of corruption and crime that life is like attempting to swim through an ocean of treacle, whilst carrying Cyril Smith.
Not a classic, but a rarely seen noir, The Prowler deserves further investigation. Hope I've sold it to yez.
'The Prowler' is mostly good with many truly great things, if not quite classic status. It does start out that way but it should have kept that all the way through. While it is understandable as to why it won't connect to some, the praise it has gotten here is every bit, perhaps even more, as understandable. While not loving 'The Prowler' and feeling that there are definitely better films in the genre, it is underseen and impresses in many ways.
It is very beautifully and atmospherically shot and tightly edited, although the sets are on the sparse side. While it is not exactly lavish or expensive-looking, 'The Prowler' also doesn't look cheap. The music looms ominously without being intrusive. Joseph Losey, have appreciated his output ever since his wonderful 'Don Giovanni', directs with a sure and stylish hand, that indicates somebody who knew what he was doing. The script on the most part is taut and intelligent, and it was amazing too at how daring and subversive it was for back then.
Did find the story engrossing on the whole, especially in the first half which is full of intrigue and suspenseful atmosphere. Especially the ending. The character writing fascinates, really liked its nuance and that it was not all black and white. Heflin is outstanding here, it's one of his best performances and he was seldom this nuanced and haunting. Evelyn Keyes doesn't look ill at ease, even with her suitably vulnerable body language and underplays beautifully yet also with the appropriate amount of steely edge. John Maxwell is rock solid support.
By all means, 'The Prowler' could have been better than it was. While Heflin and Keyes are spot on individually, the central chemistry felt on the bland and underdeveloped side. The ending aside, too much of the second half isn't quite as focused as the first, it loses tautness and parts do veer on implausible.
Also found myself frustrated by some of Keyes' character's behaviour and decisions, where they didn't make sense or seem silly.
Concluding, not a classic but recommended despite its unevenness. 7/10.
Alain Silver, in his "Film Noir: An Encyclopedic Reference To The American Style", notes that "like most of Losey's American films, THE PROWLER is concerned with complex social issues, which make it marginal to the film noir series." I couldn't agree more that using Film Noir to enlighten dilutes the dark universe the cycle represents but in this case that's a moot point. THE PROWLER doesn't examine social issues, complex or otherwise, and isn't an indictment of America in the mid-twentieth century as much as it is an expose of modern life itself with all its banality and dull aspiration. Better yet, there are no explanations, causes, or, thankfully, remedies offered for the ultimately empty American Dream. Existentially, there's no escape for the outwardly normal anti-hero who is, ironically, a psychopath sworn to "protect and serve" the very ideals he doesn't share. Lonely housewives in unhappy marriages, failed dreams of stardom and college scholarships, soulless ambition for mediocre achievement hidden beneath deceptive outward appearances, and hopes for a future (linked to a motor court) that isn't much better than the past or present all serve to point up the futility of upward mobility. In a bitter irony, Garwood has perverted the American dream but, once attained, that very dream becomes inverted and its ultimate reward (creating a family) proves his undoing. That the birth takes place in a desert ghost town perfectly illustrates a wasteland where everyone is either unfeeling, unsuspecting or dull-witted ...and everything's nothing, really. In its depiction of a monotonous, gray world, THE PROWLER is pure Film Noir and Joseph Losey skillfully conveyed the often pervasive sense of dissatisfaction and ennui with bourgeoisie life but, because of his off screen politics, the film was unfairly tarred with the same brush that derailed the director's career in Hollywood.
Webb plots a scheme to get rid off John and he kills John simulating an accident. Webb goes on trial and is considered not-guilty for the murder of John. Webb quits the police and manipulates John's brother to get close to Susan again. He learns that John could not have children and their marriage was not perfect. Webb meets Susan and convinces her that he is really innocent. Soon they get married and they buy a motel to start a new life. But in the wedding night, Susan discloses that she is four months pregnant. How could they explain the baby to the press after the publicity around the case?
"The Prowler" is a great but unknown Film-Noir directed by Joseph Losey with a story of adultery and greed. Webb Garwood is a sordid frustrated man that manipulates the housewife Susan Gilvray, who has a loveless marriage without children with an older man, to marry him. The conclusion is moralist but does not spoil the story. My vote is eight.
Title (Brazil): "Cúmplice das Sombras" ("Accomplice of the Shadows")
क्या आपको पता है
- ट्रिवियाUncredited producer John Huston conceived this project as a star vehicle for his estranged wife, Evelyn Keyes, as a sort of parting gift. She had long complained about her lack of challenging roles while under contract at Columbia. They were divorced by the time production began. Although more famous for her role in गॉन विथ द विंड (1939), Keyes felt this to be the best role and best performance of her career.
- गूफ़Webb tells Susan the birth of their baby will increase the ghost town's population by 33-1/3%. The birth actually will increase the population by 50%, because the population will go from two to three.
- भाव
Webb Garwood: [working on picking the lock of her husband's storage box] Does he keep everything locked up?
Susan Gilvray: Mostly.
Webb Garwood: You, too?
Susan Gilvray: That's a leading question.
Webb Garwood: Ha, probably does. A mean, jealous guy like that wants his wife all to himself. I can't say I blame him, though. I'd do the same myself...
Webb Garwood: [managing to pick the lock and open the storage box] There. See how silly it is to keep things locked up?
Susan Gilvray: Maybe. But it did delay you for a little while.
Webb Garwood: Is that all he wants, just to delay things?
Susan Gilvray: Sometimes a little delay does the trick.
टॉप पसंद
- How long is The Prowler?Alexa द्वारा संचालित
विवरण
- रिलीज़ की तारीख़
- कंट्री ऑफ़ ओरिजिन
- भाषा
- इस रूप में भी जाना जाता है
- The prowler
- फ़िल्माने की जगहें
- Calico Ghost Town, Yermo, कैलिफोर्निया, संयुक्त राज्य अमेरिका(where Webb and Susan live when she is pregnant)
- उत्पादन कंपनी
- IMDbPro पर और कंपनी क्रेडिट देखें
- चलने की अवधि1 घंटा 32 मिनट
- रंग
- पक्ष अनुपात
- 1.37 : 1